Stick A Fork In The Turducken – Women vs. The Oscars

Academy Awards tourism destinationsAll this post-Oscar buzz has me thinking. And writing. At 5:00am, when I could be still blissfully asleep. But this is a great thing! The debate about the ceremony, and all the great articles and blog posts add fuel to the creative fire.

Here’s the thing: yes, there were parts of the show that were blatantly misogynist. I groaned at the We Saw Your Boobs song. But I was not shocked at all. Because misogyny exists, it’s deeply rooted in our culture, and it seems to me that the best way to rise above it is to simply keep creating art. Here’s some feminist gristle for you to chew on: It was a misogynist show celebrating a misogynist industry in a misogynist town. A turducken of misogyny. So stick a fork in it and keep going. Or better yet, let’s find ways for the turkey to give birth to the chicken, which then gives birth to the duck, in a world where they are all free and able to do their own thing. To create the art they want to create, and do the work they want to do, on a level playing field. Fly birds. Be free.

One of the things that struck me most when I attended the Austin Film Festival last fall was the discourse among the speakers on the Chicks with Bics panel. Aline Brosh McKenna, writer of The Devil Wears Prada, said that she’s aware of the discrimination, but chooses not to let it bother her. She simply keeps working. She said that we, as women, need to learn to do what men do every day, for no apparent reason. Get up, go look yourself in the mirror, and tell yourself that you are awesome. Seriously. Go do it right now. It’s harder than you think. I usually crack up laughing when I do it, but I’ve been doing it. Now go tell your sister to do it. And tell your sister’s sister too. I asked my husband the other day what stories he tells himself when he’s feeling low, or when problems seem overwhelming. He said he imagines himself to be a king or a warrior, and he sees himself fighting them and winning. What??!! Amazing. I’m going to try that too. Why does this come naturally to men, and why are woman programmed so differently? We too often tear ourselves down, and beat ourselves up, and it’s time to stop.

I choose to live in Seattle because it’s a creative magnet. Our city is one of the most literary in the country, and the writing, film and art that is generated here is top-notch. We really do value art more than commerce, and that makes all the difference. Check out the amazing films that Lynn Shelton, Megan Griffiths, Sue Corcoran, and Lacey Levitt are making.

Here are some of the positive things about the recent Oscar show: The Film School raised money to fund scholarships and mentoring at its Oscar Gala at The Triple Door. Oscar parties were held around the world where friends gathered to celebrate the art form that combines all other art forms. Great debates are being had right now about misogyny and what we can do to combat it. Women: I salute you. We need you on the front lines of this fight. Don’t let it stop you—let it inspire you to keep going. Keep making your films. Keep telling your stories. Write on!

Poetry as Storytelling

bull cornerGreetings, culture bugs!

In anticipation of our March 5th Poetry Slam First Tuesday, enjoy this essay where I attempt to convince you that poetry is worth your time:

Today’s poem is called “Ars Poetica” by Archibald MacLeish.

While I love this poem by MacLeish, it is difficult to say exactly what he means by “a poem should not mean, but be.” Perhaps that is the point.

Were old Archie alive today, I would love to put the following question to him: What separates a poem from other forms of writing?

Here are my answers:

  • Performance – a poem is designed to be shared
  • Durability – a poem should be memorable

All the tricks of poetry- meter, repetition, rhyme, the controlling image, are hooks that the human brain has an easy time holding on to. Even a poem that is reputedly free verse, when spoken aloud, should reveal an ease of speech and recall that plain prose doesn’t necessarily possess.

In fact, for a poem to “be” at all, someone must be thinking about it.

Let’s all hop in the way-back machine and see if we can figure out why people started telling poems to one another in the first place.

Stories in Pre-History

It has taken literacy and writing an obnoxiously long time to catch on. While it behooved traders to keep track of their stock by making marks on handy surfaces, your average proto-person couldn’t be bothered with such things, let alone picking up a magazine.

Talking, however, and singing, well these things came naturally.

Nobody can say when the first group of hunters sat around a campfire and listened to one in their number sing, often with useful information like where to find food embedded within the song.

It is just as hard to identify the points at which it became common to gather the family around you and tell your sons and daughters to stop hitting each other, then settle them down with a fantastic tale that also instructs them how to behave towards their siblings.

Because stories told with a meter, rhyme, or powerful imagery were easier to remember,  they were easier to re-tell. These stories could survive generations of re-telling, elaboration, subtraction, and yet still contain the most important information.

Survival of the fittest story.

In the eco-system of ideas, to be forgotten is to die. To be repeated is to reproduce, and to be easily reproduce-able is to be fit.

These days, we use a whole suite of media, films, books, internet memes, for the same purpose: to remember.

We are well accustomed to movies based off musicals based off books based off YouTube videos. Repetition of the same types of story is everywhere.

Oration continues to be important today, with political leaders and activists using old techniques of public speaking to sway crowds to action, or a decision, or a certain feeling.

Where does poetry fit in to all of this? Where doesn’t it fit? There are armies of copy-writers, graphic designers, advertisers, whose sole occupation in life is to create something that you can’t forget.

As a storyteller, that is your occupation as well. Why not study to old techniques then, if they’ve lasted this long? Why not take a moment to explore the history of ideas as expressed through poetry and see for yourself what secrets you might learn? Poetry still has a power over us, even today, but don’t take my word for it:

Damon Arrindell is the Slam Master of Seattle.  Hear stories from him and your neighborhood slam-poets March 5th at Roy St.

P.S. I was going to try for four Rocky and Bullwinkle references in this article, but my editor informs me that three is Badenov.

Women Support Women To Get Movies Made & Seen

by Lydia Dean Pilcher

We’re nearing the end of an ambitious Kickstarter campaign for an independent film, “The Sisterhood of Night.” Adapted from a short story by Pulitzer prize-winning author Steven Millhauser, our movie is a modern twist on the Salem witch trials. It deals with teen girls and the wild west of the Internet, its potential for casual, breathtaking cruelty, and its capacity to connect and share – all slippery new challenges to this transitional generation. “The Sisterhood of Night” is about holding close what makes you different, through diversity of thought and culture. It shines a light on the dangers of cyberbullying, but it also suggests that there are ways of using the Internet to find your inner creative spirit and tap into positivity.

But this journey began a few years ago. When my producing partner, Elizabeth Cuthrell, and I first met director Caryn Waechter and screenwriter Marilyn Fu, we fell in love with their irrepressible energy and their quest to find beauty, fun, and meaning in the dark edges of life. We worked for a couple of years with Caryn and Marilyn, further adapting the original material from an 80′s setting to our contemporary digital world.

Despite our passion–having a first time feature director and deeply female material, and a teen cast with no vampires–we found it hard to gain traction with the conventional ways of financing. It’s no surprise that women are more likely to green light women’s pictures, have more confidence in women directors, and be more interested in stories about female characters. The scarcity of women at the top of the business end of the film industry could have a lot to do with the fact that women made up only 5 percent of directors in Hollywood in 2011.  In addition, the issue of entry and retention in our industry for independent filmmakers, women filmmakers, and diverse filmmakers is a very serious matter. It takes someone with real vision in the studio executive’s chair, and strong-minded passionate producers, to push back against the mediocre middle ground, which studios tend to feed.

With crowd funding, audiences now have a vehicle to push back as well. Kickstarter and other crowd funding sites provide an opportunity for individuals to influence the development of independent film projects at the ground level, and give these films the momentum they need to go into or finish production, with or without Hollywood’s consent.

Audiences can vote with their dollars and contribute to the development of projects, rather than just be mere consumers at the end of the line.

Last year saw Dee Rees’ Pariah break out of the pack at Sundance to be picked up by Focus Features, making it the first film in Kickstarter’s two year history to do so. The 2012 Sundance festival unveiled a total of seven out of fourteen Kickstarter narrative and documentary film projects by women directors and co-directors.

Kickstarter has filled a real need in bringing people together to fund the projects they want to create, and the results have been — and continue to be — amazing. Kickstarter is expecting to bring in a total of $150 million in funding this year – more than the $146 million provided by the National Endowment for the Arts.    

A Businessman On the Importance of Great Writers

Excerpt from Rework by Jason Fried and David Heinemeier Hansson

Great Writers

If you are trying to decide among a few people to fill a position, hire the best writer. It doesn’t matter if that person is a marketer, salesperson, designer, programmer, or whatever; their writing skills will pay off. That’s because being a good writer is about more than writing. Clear writing is a sign of clear thinking. Great writers know how to communicate. They make things easy to understand. They can put themselves in someone else’s shoes. They know what to omit. And those are qualities you want in any candidate. Writing is making a comeback all over our society. Look at how much people e-mail and text-message now rather than talk on the phone. Look at how much communication happens via instant messaging and blogging. Writing is today’s currency for good ideas.

Also check out the article in Inc. Magazine – Why is Business Writing so Awful?

What do you think?  

Is writing making a comeback in society?

Letter from the Executive Director

Sometimes I wonder if filmmaking is a rich kid’s business. This worries me because I am pretty sure the rich don’t always tell the best stories (they have good stories, they just won’t tell them). Art is often created by the uncomfortable, the angry and the hungry, as artists talk about what no one else will. Films cost a lot to make, and those with the money and the connections to raise money have a huge advantage. But then I look around at the sheer number of films being made and know that a lot of these are created not by the rich, but by every day people who come hell or high water are going to be heard. A lot of these people may not have money, but what they do have is essential to good art: authentic voices, passion and innovation.

Independent movies are a gag reflex to the formulaic drivel we are forced fed by the mainstream entertainment industry. This instinctual reaction our body has to something it shouldn’t swallow, however, has produced an incredible number of independent films: 3,812 features were submitted to Sundance last year. That is amazing, fantastic, and depressing. Depressing because only 118 of those were screened at Sundance and only about 40 of these got any kind of distribution. Few will remember the 3,772 movies that didn’t get sold or distributed, some of which were very, very good.

There are too many films, not enough theaters and no viable distribution for most of this inspiring effort. In the U.S., about 500 movies get released each year, and studio movies play on 95% of the 39,233 screens. Hollywood essentially produces three different categories of films: the Big Budget Blockbuster, which we all know all too well; the Art House, which is produced by Hollywood conglomerate indie studios like Miramax or SearchLight; and the Genre Specialty films coming from true indie studios and producers who make the majority of films being submitted to festivals each year.

Yet, Hollywood has begun to reduce the amount of Art house and Specialty films in favor of producing more commercial Big Budget films because they are, in their minds anyway, safer commercial fare.

But who wants safe? If I wanted safe I would go lock myself up in the bedroom, which I do quite often to escape my teenage sons, actually. We want thought provoking, we love new talent, we seek authentic voices, and we demand better. And independent films are often better – why do you think they increased the Academy Award nominations to 10 pictures – indie flicks were driving out the studio pics.

TheFilmSchool’s mission is to “elevate the art of cinematic storytelling”, and we are all about nurturing filmmakers to make better stories. But those stories have to be told and in the film world that means they have to be seen, which means all of us have to do something the studios are not very good at, but artists are – we have to innovate.

This year the movie industry made $30 billion (1/3 in the U.S.) from box-office revenue. But the total movie industry revenue was $87 billion. Where did the other $57 billion come from? From sources that the studios at one time claimed would put them out of business: Pay-per view TV, cable and satellite channels, video rentals, DVD sales, online subscriptions and digital downloads. Why was the movie industry consistently wrong? And why do they continue to fight new technology? Because they don’t know how to innovate.

But artists do. That’s what artists are particularly good at. We have to come up with new platforms for our films, new ways to market, and new ways to distribute. We need a distribution revolution! We need to get braver; we need to not only dream but to execute; filmmakers must create new waters, and lead the public to the well; and audiences need to get loud – very, very loud. With proper distribution, indie movies do make money and in the process, get seen, build artists’ careers, and shape our culture by delivering authenticity and quality. Until we create better and new distribution methods, indie movies will be all dressed up with no place to go, no matter how rich the filmmaker.

- John Jacobsen